• Journal of the Korean Society for Precision Engineering
• /
• v.30 no.4
• /
• pp.390-396
• /
• 2013

Due to the development of technology, there is a considerable increase in the number of skyscrapers in the world. Accordingly, there are rapid growing requests about maintenances such as cleaning, painting, and inspection. However, it is extremely dangerous working the walls of buildings, and crashes from buildings have accounted for large proportion of constructional accidents. Especially, as the number of buildings with irregular shapes increases, the accident rate during the maintenance work increases each year, and most of the accidents lead to death. An alternative solution must be developed with the commercialization of automatic systems. In this research, a fundamental research has been conducted for drafting and commercializing an automation tool that is carried in the built-in guide system, which can perform cleaning.

• Journal of Korean Society of Occupational and Environmental Hygiene
• /
• v.8 no.1
• /
• pp.105-114
• /
• 1998

In this study, 108 thinners were analyzed to identify their composition. The purposes of this study were to provide the data for MSDS and worker exposure levels. Thinners were collected from manufacturing industries, distributors and users. Wide ranges of thinner components were found ; Toluene, xylene, and ethyl benzene were most often found. Next, MIBK, cellosolve acetate, butyl cellosolve, and butyl acetate were found in 20-40 thinners. Others, such as acetone, n-hexane, cyclohexane, heptane, methylcyciohexane, octane and nonane were also found. There were about 5-6 components in each thinner. In the view point of Industrial Hygiene, Benzene was the most important component of thinners, which procures leukemia. Benzene was found from 8 kinds of thinners out of the total 108 surveyed. Thus, Content of benzene in thinners must be evaluated when industrial hygiene surveys are performed. Aromatic hydrocarbons were identified from 71 kinds of thinners out of total 108 and their contents were 10-87%. Alkanes were not contained in automobile painting, spraying, degreasing, urethane and epoxy thinners but lacquer, enamel and coating thinners.

• Journal of the Korean Ceramic Society
• /
• v.47 no.4
• /
• pp.312-318
• /
• 2010

Chulwha pieces collected from Hakbong-ri site in Keryong mountain were studied whether there is reactions or not in each layer to investigate firing condition of glaze, body, Chulwha, engobe of Buncheong ware in the early Chosun Dynasty, 15th~16th Century. As a result of XRD analysis of a Chulwha piece, a main crystal phase was $\alpha$-Quartz and a second was Mullite. It was assumed the firing temperature would be around $1200^{\circ}C$ because a little amount of Mullite was formed in the body and there was no phase transition $\alpha$-Quartz to cristobalite. As a result of ICRM analysis, Chulwha and glaze didn't react and the melted glazes were sunk into the Chunwha particles. The thin layer of glaze was found on the Chulwha layer. As a result, the color of Chulwha layer always came to vivid black. Moreover, Chulwha painting didn't spread over the Buncheong ware, because Chulwha and engobe didn't react. The boundary interface of engobe and body was not clear because they had similar compositions. This shows engobe was composed of more $Al_2O_3$ than body.

• Journal of the Korean housing association
• /
• v.14 no.5
• /
• pp.19-26
• /
• 2003

The purpose of this paper is to examine and analyse the features of plan type and space composition of the Siheyuan(courtyard house) which is one of the most remarkable types of the traditional dwellings in China. With the passage of time this house developed into one of the chinese house style. The technique of Siheyuan's spatial composition goes so far back in the New Stone Age. The relics of this are the colony layout, the system of four sides, the layout type of a palace, the picture of lacquered ware, the pictured brick, the earthenware of house type, the cave painting, the paintings of painters and others. The fundamental spatial conception of it arranges one or more courtyards to compose, sometimes in a very complex way, a general walled compound. The main longitudinal axis is mainly north-south, but the chief buildings, or halls are always placed transversely to it. These rectangular buildings mayor may not connect, by means of open galleries variously planned, with rows of smaller buildings flanking the courtyards on both sides. On this system, enlargement is never carried out by adding to height, but by continual duplication of existing units, and growth in breadth or preferably depth. The need for family security is thought to have led to the development of this rectangular houses with walls mainly blank on the outside, defensible entrances, and public service facilities in the center of the houses.

• Korean Institute of Interior Design Journal
• /
• v.13 no.5
• /
• pp.11-20
• /
• 2004

F. L. Wright was, from his early days, influenced by Japanese Culture and endeavored his original concept of orgonic orchitecture. In his 1st Golden Age, he devoted to establish an architectural concept of Organism which was proved by the theories of New Science and also had been universal in ancient Orient. Later, in his 2nd Golden Age, he tried to embody his unique concept in prairie houses and office buildings. The organic structure and spatial unit that actually applied to these works, were good examples of realization of the simplicity and continuity which he found out in Japanese culture. This paper is to study on the influence of Japanese culture on a course of Wright's embodying his organic architecture, and to study on a way of its realization in his works. To be concrete, main contents of the study are as follows; 1) the relationship between Wright's integrate perception and the orientalism 2) the influence of the traditional Japanese painting like woodblock prints and the aesthetic theory of the traditional Japanese pictorial art on Wright's design principles 3) the influence of Wright's experiences in Japan on his design principles 4) the influence of Wright's analysis of the traditional Japanese dwelling on his design principles 5) the course of Wright's embodying his organic architecture concept, and the way of its realization in his works.

• Korean Institute of Interior Design Journal
• /
• v.13 no.5
• /
• pp.66-73
• /
• 2004

If we consider the origins of new architectural language in Russian, as opposed to its social dimensions, then we are looking at quite another area of pre-Revolutionary activity: art. It was Tatlin's early ‘counter-reliefs’ which first explored the way new materials might generate new artistic form. The Basis of his art is collage and the reality of materials. In 1915, he exhibited the first of his ‘counter-reliefs’, casual montages of pieces of metal that invade the space around them, making the decomposition of the forms three-dimensional. What is not in doubt is the primacy of materials in Tatlin's art. He was a key figure in the transition from art towards design and ‘construction’, the last was accomplished with ‘real materials in real space.’After the October Revolution, one of the central myths of avant-garde was the realization of a total work of art. The progress has developed in the directions to an unprecedented creative realm, situated somewhere between painting and architecture in the post-revolutionary period. Paramount among such pioneer works was Tatlin's design for a monument to the Third International in 1919. Here In an artistic form, his investigation of ‘material, volume and construction’ was clearly embodied. In the comtemporary architecture, Tatlin's concept has been a great influence on the various tendencies of spatial expressions. For example, the architecture with concept of ex-formality has many varied aspects of space composition - dynamic forms with plasticity of concrete, ex-cubic composition with free walls, disposal composition by geometric collision and superimposition, and etc.

• Korean Institute of Interior Design Journal
• /
• v.16 no.5
• /
• pp.98-106
• /
• 2007

With the recent increase in the amount of interior materials, the medium-density fiberboard(MDF) has continued to be produced at an increasing rate. Accordingly, to prevent the deformation of MDF after its construction, secure the precision of its finishing and improve the performance of its design, this study attempted to investigate the effect of environment humidity conditions on flatness according to the field used in MDF and its relationship to other physical properties. An attempt was made to conduct this study by changing the conditions of surface treatment by moisture and by thickness. For this purpose, it is judged that it is desirable to prevent scheme to maintain the flatness by defining the coefficient of water absorption-induced length change as in the regulation on low-density soft fiberboard and adjusting the standard for wet bending strength upward. It is thought that is further studies will be conducted about the effect of material, adhesive and thermal pressure condition, production system and processing method used in MDF on its scheme to maintain the flatness and changes in length and thickness expansion.

• Journal of the Korean Society of Costume
• /
• v.4
• /
• pp.25-37
• /
• 1981

Art Nouveau style refers to the movement of art which was started in France and Belgium in the last decade of the 19th and the early years of the 20th century. The distinguishing characteristics of Art Nouveau style are the sensous sinuosity of its line, nervously undulating, curving over itself, rhythmical, flowing in endless patterns, which are inspired by animals and plants, specially by flowers, leaves, long stalks. The Art Nouveau style includes also the extreme simplicity of form, and asymmetric design. This new trend of art movement spread into architecture, furniture, wall papers, graphic design, accessories and textiles. In this paper, I tried to find out whether or not the Art Nouveau style had an effect on clothing. Because I believe clothing, like architecture, painting, and sculpture, is an Art form that derives from a particular set of cultural circumstances and reflects the needs and aspirations of the society for which it is created. Fashions in clothing over the last five thousand years have mirrorred the art form as well as the spirit. The result of this study shows that the Art Nouveau style made a lasting contribution to the modernism of clothing as well as architecture and interior design at the end of 19th century and the early years of the 20th century. The modernism of clothing appeared in the straight silhouette, asymmetric design, simple and light trimming, embroidery with Art Nouveau pattern, and stylized flower design in textile. Art Nouveau made a great contribution toward the modern clothing to have its liveliness and its harmonious relationship between clothing design and the use of materials.

• Journal of the Korean Society of Costume
• /
• v.51 no.5
• /
• pp.45-59
• /
• 2001

The purpose of this study is to investigate the religious motive and to clarify the relation between religion and fashion and to predict the trends in the future fashion by analyzing the religious motive in the aspects of inner meanings and methods. 1. We can see ego-superiority as inner meanings of religious motive is expressed mysterious image. Mysterious feeling is reflected in modem fashion in the form of the transparency of light and mysterious color in religious painting that is reemerged as a gorgeous and luxurious sense or it is reflected in modern fashion in the form of borrowing grand ways of art and elements of clothing. And this results from longing for aristocratic gorgeousness and from desire for light that is based on love and salvation. 2. We can see religious motive in modern fashion is a will to be converted to religion because of fin de sie-cle anxiety, and this is reemerged in modem fashion as borrowing of religious symbols in the casual wear or as combination of sacred religious motive with vulgar image and they are going to get mental satisfaction by this. 3. Religious motive has the inner meanings of ethic completion and this is reemerged through covering bodies, minimizing details and using dark tone color by having an inspiration in religious clothing. And this results from antipathy to extreme gorgeousness of modern fashion and excessive exposure and from mental desire for returning to an inner nature.

• Journal of the Korean Society of Costume
• /
• v.53 no.3
• /
• pp.121-135
• /
• 2003

This paper is about the dress styles during the 16th century of the Chosun dynasty, just before the Japanese Invasion of Korea in 1592, through painting-Kiyeonghoido. In the Chosun period, dress styles played an important role in representing the differences in social status. The most remarkable signs of social standing are the hair ornaments. Officials in ranks, noksas, and seoris are wearing a same, a yugakpyeongjeongeon and a mugakpyeongjeongeon respectively. The head ornament for musicians in high ranks is a samo, and, for those in low ranks a hood or a heuklip. Accordingly, head ornaments were important articles among apparels, and especially ripja was an article that sensitively reflected the contemporary fashion. Such a trend also influenced the common people's styles of dress. Thus, the style of the heuklip worn by the chamberlain in Kiyeonghoido resembled of yangban's. Actual official uniforms also diverged from the specifications for them. Sangboks were red for both dangsanggwans and danghagwans, but their ranks were marked by the material of their dress rather than by the breast plates. Dress styles change over time as the society members influence and are influenced by each other. Therefore, owing to the social characteristics of a hierarchical society, dress styles are distinctive according to the wearers' social standings and roles, and various dress styles emerge that deviate from regulations. The significance of the present paper is to review the diversity of the dress styles during the 16th century of the Chosun dynasty.